Jeffrey Adams - Böcker

The films of the Coen brothers have become a contemporary cultural phenomenon. Highly acclaimed and commercially successful, over the years their movies have attracted increasingly larger audiences and spawned a subculture of dedicated fans. Shunning fame and celebrity, Ethan and Joel Coen remain maverick filmmakers, producing and directing independent films outside the Hollywood mainstream in a unique style combining classic genres like film noir with black comedy to tell off-beat stories about America and the American Dream. This study surveys Oscar-winning films, such as Fargo (1996) and No Country for Old Men (2007), as well as cult favorites, including O Brother, Where Art Thou? (2000) and The Big Lebowski (1998). Beginning with Blood Simple (1984), it examines major themes and generic constructs and offers diverse approaches to the Coens' enigmatic films. Pointing to the pulp fiction of Dashiell Hammett, James M. Cain, and Raymond Chandler, the study appreciates the postmodern aesthetics of the Coens' intertextual creativity.

The films of the Coen brothers have become a contemporary cultural phenomenon. Highly acclaimed and commercially successful, over the years their movies have attracted increasingly larger audiences and spawned a subculture of dedicated fans. Shunning fame and celebrity, Ethan and Joel Coen remain maverick filmmakers, producing and directing independent films outside the Hollywood mainstream in a unique style combining classic genres like film noir with black comedy to tell off-beat stories about America and the American Dream. This study surveys Oscar-winning films, such as Fargo (1996) and No Country for Old Men (2007), as well as cult favorites, including O Brother, Where Art Thou? (2000) and The Big Lebowski (1998). Beginning with Blood Simple (1984), it examines major themes and generic constructs and offers diverse approaches to the Coens' enigmatic films. Pointing to the pulp fiction of Dashiell Hammett, James M. Cain, and Raymond Chandler, the study appreciates the postmodern aesthetics of the Coens' intertextual creativity.

This book contains written versions of the lectures given at the PCMI Graduate Summer School on the representation theory of Lie groups. The volume begins with lectures by A. Knapp and P. Trapa outlining the state of the subject around the year 1975, specifically, the fundamental results of Harish-Chandra on the general structure of infinite-dimensional representations and the Langlands classification. Additional contributions outline developments in four of the most active areas of research over the past 20 years. The clearly written articles present results to date, as follows: R. Zierau and L. Barchini discuss the construction of representations on Dolbeault cohomology spaces. D. Vogan describes the status of the Kirillov-Kostant ``philosophy of coadjoint orbits'' for unitary representations. K. Vilonen presents recent advances in the Beilinson-Bernstein theory of ``localization''. And Jian-Shu Li covers Howe's theory of ``dual reductive pairs''. Each contributor to the volume presents the topics in a unique, comprehensive, and accessible manner geared toward advanced graduate students and researchers. Students should have completed the standard introductory graduate courses for full comprehension of the work. The book would also serve well as a supplementary text for a course on introductory infinite-dimensional representation theory.